“I Am Crime: Art on the Edge of Law is an exhibition of more than 30 artists and collectives that challenge, question or circumvent the law through their work. Curated by Justin Hoover, I Am Crime touches on issues of equity—who gets to break the law, when, and why.
“‘True Crime,’ a collaborative installation conceived by Critical Art Ensemble, invites any visitor to become part of the exhibition–-click here for details.
"In I Am Crime some artists’ criminal trespasses are virtual or accidental, while others contribute documentation of carefully planned civil disobedience. Still others exhibit the residue of artworks which have actually been intervened upon by the United States legal system.
"Dreamers Adrift, a group founded by Jesus Iñiguez and Julio Salgado, approach illegality from a different angle. ‘Undocumented and Awkward,’ a series of skits on video created by and for undocumented youth, highlights social inequalities faced by American immigrants."
I Am Crime will be open to viewers at SOMArts, 934 Brannan Street, San Francisco, March 9 - April 19. For more information, visit www.somarts.org/iamcrime.
“Your questions seem to be aimed at an artist, but I consider myself, in all the work that I do, to be a journalist and documenter. It’s interesting to me that you would use the word “interpretation” here — would you say a photographer is similarly “interpreting” the scene when they take a photo, or are they documenting it? My Occupy paintings are paintings of actual events, actual people; they are not changed or exaggerated to make a point. My work doesn’t comment on the connection between “criminal” behavior and freedom of expression, the importance of public space; I don’t see my work as interrogating the concept of what’s legal. My goal as always is to document accurately. While I certainly create the frame, I use commentary and quotes from protesters, counter protesters, city officials and police instead of my own words to accompany the art for this reason. The “inspirations behind [my] work” are the same as they would be for any other journalist: real events, especially visually powerful ones. Personal proximity plays a huge part in my work, just as it would for any other journalist — I need to be close in order to interview people and witness events. Again, I consider myself a journalist, not really an artist; painting is the medium for some, but not all, of my journalism, because it has a tremendous and unique power to tell true stories in a different way.”—My answer to an SF Chronicle reporter asking about my Occupy Oakland watercolors for a story about the SomArts show coming up next week. Expect to see none of this in the article. (via susie-c)
So this is something I’ll be buying as soon as I have disposable income again.
"In the Library is a warm blend of English Novel*, Russian & Moroccan Leather Bindings, Worn Cloth and a hint of Wood Polish.
"*The main note in this scent was copied from one of my favorite novels originally published in 1927. I happened to find a signed first edition in pristine condition many years ago in London. I was more than a little excited because there were only ever a hundred of these in the first place. It had a marvelous warm woody slightly sweet smell and I set about immediately to bottle it."
“The moon people do not eat by swallowing food but by smelling it. Their money is poetry - actual poems, written out on pieces of paper whose value is determined by the worth of the poem itself.”—Paul Auster, Moon Palace (via libraryland)
“If you’re scratching your head, you’re not the only one. There’s clearly nothing infringing in our post. I just wasted too much time going through all 300+ comments on that post and I don’t see anything that includes any porn or even links to any porn as far as I can tell. Instead, it seems that Armovore and Paper Street Cash sent a clearly bogus DMCA takedown notice, which served the purpose of censoring our key blog post in the SOPA fight. And they did it on January 20th… the day that SOPA was officially shelved.”—Key Techdirt SOPA/PIPA Post Censored By Bogus DMCA Takedown Notice | Techdirt (via publicknowledge)
"…the streets of various European capitals have been adorned with phrases such as CIVILISATIONS COME AND GO LIKE AUTUMN RAIN and WHENEVER YOU SEE THE SUN REFLECTED IN THE WINDOW OF A BUILDING IT IS AN ANGEL due to one artist’s continuing efforts to engage passers-by with his emotionally-charged and often melancholic abstract poetry. Robert Montgomery works in the situationist tradition and continues to relentlessly hijack advertising spaces across the globe in order to provide a reflective space in which a public so used to being psychologically bludgeoned into a consumerist daze can find some respite from the relentless static of the modern world.”
It’s fairly well known that for the last thirty years my main work as an artist has been located in activities and contexts that don’t suggest art in any way. Brushing my teeth, for example, in the morning when I’m barely awake; watching in the mirror the rhythm of my elbow moving up and down …
The practice of such an art, which isn’t perceived as art, is not so much a contradiction as a paradox. Why this is so requires some background.